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Word: laingian (lookup in dictionary) (lookup stats)
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...more concrete than the fact that "The theories of R.D. Laing, the poet of schizophrenic despair, have such theatrical flash that they must hit John Cassavetes smack in the eye," she proclaims his movie "the work of a disciple." She then criticizes the film for straying from a strict Laingian analysis and plunges in the final stake by rejecting the movie because she rejects Laing's view of society. Kael has simply missed the point. She tries to transform Cassavetes's film into a celluloid peg and cram it into a neat intellectual hole. But the movie doesn...

Author: By Irene Lacher, | Title: The Obsessed | 3/6/1975 | See Source »

Kael criticizes A Woman Under the Influence for being "entirely tendentious: it's all planned, yet is isn't thought out." Her initial premise is wrong; Cassavetes is no Laingian disciple. Laing's The Politics of Experience is an ode to schizophrenia. He claims that they aren't really mad; but that society is. The thrust of the movie is not, however, to explore the reaches of madness but to scrutinize the problems of a love relationship. To call Cassavetes a Laingian is to assume that he analyzes what he sees the same way an intellectual does. But the only...

Author: By Irene Lacher, | Title: The Obsessed | 3/6/1975 | See Source »

...Actors Company staging of Knots wraps an hour's worth of such vicious circular logic in music hall routines that include slapstick, songs, juggling, mime and dance. Ironically, the format runs into a Laingian knot or two. The words cannot satisfy the action, which in turn fails to satisfy the words. The reason is that Laing's knots are not truly Gordian but slip; what appears complex comes apart with a simple tug. This may even be the point, but it still leaves the actors-none of whom are Laurel or Hardy, or Gallagher & Shean-striving frantically...

Author: /time Magazine | Title: The Theater: British Sketchbook | 2/18/1974 | See Source »

...watch. Isadora, Bennet her husband, and Adrian Goodlove, a Laingian from England, get involved in an adulterous whirlwing in Vienna. Bennet--Freudian, careful, compulsively clean, straight, steadfast--represents Isadora's panic about being alone and about change. Adrian--Laingian, irresponsible, egotistical, clown, ass grabber--represents her hunger for the heady and exuberant in life. Isadora tries to choose between them, juggling security with Bennet against escape with Adrian, The National Book Award and the Transatlantic Ass Award. She sleeps with Bennet dreaming of Adrian and sleeps with Adrian needing Bennet. She doesn't want what she has, and when...

Author: By Emily Fisher, | Title: Love and Loathing | 1/16/1974 | See Source »

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